"A photograph ... isn't conclusive the way language is. But that's what makes photography interesting. There's no point in taking photographs that use language in an expository way," says Daido Moriyama in the pages of this issue. Moriyama, a titanic figure in the medium's history, has photographed Japan's street life for close to half a century.
TRISHA DONNELLY'S work has been exhibited internationally, most recently at Air de Paris; Casey Kaplan, New York; and Portikus, Frankfurt am Main. In 2010, she received the Luma Foundation Prize at the Rencontres d'Arles. MARK ALICE DURANT is editor of the online magazine Saint Lucy (www.saint-lucy.com). He wrote about photography and performance art for the Summer 2010 Issue of Aperture.
It is rare that a museum presentation manages to reveal new and thought-provoking correlations between photographers. Curator Christoph Schaden recently succeeded in doing just this at the NRW-Forum Düsseldorf with the ambitious exhibition Der Rote Bulli: Stephen Shore and the Düsseldorf School of Photography, a show consisting of more than four hundred photographs by Shore, Bernd and Hilla Becher, and twenty-one artists who studied under Bernd Becher during his tenure at the Düsseldorf Kunstakademie from 1976 to 1996.
The booming 1950s may have been America's last optimistic era, photographically represented with a flourish by 1955's The Family of Man, with its trust in a united humanity. Of course, it was also the McCarthy era, when the atom bomb cast a terrorizing shadow, and a quietly growing skepticism and disillusion were expressed by the Beats and made visible by Robert Frank.
In 1948, at the ripe age of twenty-four, Jerome Liebling was well along on the intertwined paths that would designate the shape of his life: photography and filmmaking. He had begun by studying art and design at Brooklyn College with Ad Reinhardt and Burgoyne Diller; he then joined the Photo League, where he associated with several of its luminary members, among them Paul Strand (with whom he studied), W. Eugene Smith, Lisette Model, and Aaron Siskind; and at the New School for Social Research he had taken courses in film production with Arthur Knight, Raymond Spottiswoode, and Leo Hurwitz.
A viewer wandering through the labyrinth of The Original Copy: Photography of Sculpture, 1839 to Today, at New York's Museum of Modern Art, couldn't be blamed for losing the thread. After all, a scheme that purported to connect William Henry Fox Talbot's Bust of Patroclus (1846), Marcel Duchamp's legendary Boîteen-Valise (Box in a Valise; 1935-41), and a Gillian Wearing self-portrait (2003), not to mention some 260 photographs in between, made one wonder what exactly Ariadne was doing with her ball of twine.
Finally, a center for photography that strikes the finer chords of scholarship and connoisseurship without depriving visitors of their rightful expectation of pleasure. All it took was one private collector of photographs with substantial resources and an ambitious idea, an unofficial advisor whose knowledge of the history of photography is animated by a genuine delight in seeing, a formula modeled loosely on the contemporary museum space, and a location that fulfills all three primary rules of real estate.
Japanese master-photographer Daido Moriyama has been at the forefront of the medium for more than fifty years. He has published dozens of volumes of photographs, including Japanese Theatre (1968), Farewell, Photography (1972), Daidohysteric (1993), and Hokkaido (2008), as well as numerous collections of essays.
Lindeka Qampi lives in Khayelitsha, a modest township near Cape Town, on the southernmost coast of the African continent. The port city of Cape Town is the legislative capitol of South Africa, and has one of the most culturally diverse populations in the world.
Over the course of forty years, Düsseldorf artist Hans-Peter Feldmann's central activity has been the collecting, organizing, and display of generic photographic imagery. After he was awarded the prestigious Hugo Boss Prize last year, Feldmann's name suddenly garnered new attention; up to that point, he had been something of an artist's artist, not recognized by many but fanatically followed by a small coterie of admirers.
Photographer Mo Yi first made a name for himself in the late 1980s with his vivid style of street photography. Though ethnically Chinese, he was born in Tibet in 1958, and turned to the camera after an early career as a professional soccer player in Lhasa.
I am seated at the kitchen table in the converted butcher's shop where British artist Helen Sear lives with her partner, the German-Swiss painter Andreas Rüthi. On the table is a round, resin trivet, about nine inches across: a heat protector for the pot of tea we will share.
Over the course of the last seven years, Irish photographer Richard Mosse has photographed postwar ruins in the former Yugoslavia, cities devastated by earthquake in Iran, Pakistan, and Haiti, the occupied palaces of Saddam Hussein, airport emergency-training simulators, the rusting wreckage of remote air disasters, nomadic rebels in the Congolese jungle, and more.
In 1966 the unmanned space probe Lunar Orbiter I captured, for the first time in the history of photography, images of the lunar landscape and of the Earth from the perspective of another celestial body. On board the spacecraft, a specifically built 70-millimeter Kodak camera and an automated darkroom processed and prepared the photographs for Earth-bound transmission.
The photographs in these pages are excerpted from a larger project titled The Automaton (L'Automa), which tells a story of an elderly man living in Venice’s Jewish ghetto of Canareggio during World War II. The man is lonely—few of his fellow Jews remain in the ghetto—and so he builds himself a robot, or automaton, which he names Nino.
How to represent, photographically, the devastation of an entire country? You can photograph its ruins. You can show the destroyers exerting their triumphant ownership of the place. You can photograph the oppressed, the tortured, the wounded, the imprisoned, the dead.
In Boston of the early 1980s, Mark Morrisroe was a well-known charismatic figure, often appearing in drag together with the artist friends he has met while studying, as well as performing in bars and clubs with Stephen Tashjian (alias Tabboo!) as the Clam Twins.
Photographs have historically been powerful tools for suggesting the narratives in our midst. Soth is an artist who has the patience, curiosity, and tenacity to uncover stories in his work, but also the restraint to not tell them fully. While his images share a sensibility of finding the lyrical in the everyday, his is not the street photography of Walker Evans or Garry Winogrand.
Jeremy Deller IT IS WHAT IT IS: CONVERSATIONS ABOUT IRAQ
On March 5, 2007, a large bomb was detonated in an outdoor book market on Al-Mutanabbi Street in Baghdad. Thirty-eight people were killed and hundreds more injured. Two years later a car destroyed in this attack was displayed at the New Museum in New York as a part of my exhibition It Is What It Is.
There are photography festivals (many) and there are photography festivals, but over the past three years, PHotoEspaña has been exceptionally interesting, largely because of the intelligence, creativity, and open-mindedness of Sergio Mah, its general curator since 2008.
BILL McKIBBEN ON FLASH FLOOD IN SANTA FE, NOVEMBER 20, 2010
Global warming is by far the biggest thing humans have done in our relatively short career on this planet—we have already melted much of the Arctic and changed weather patterns across the Earth, and scientists tell us that before the century is out, unless we get off fossil fuel immediately, we'll have raised the temperature four or five times again as much as we've done so far.